In Beethoven’s sixth sonata for violin and piano, Beethoven has become very much his own man, striking out with a distinctly formed individuality almost free of the ties that bound him to his predecessors, Mozart, and Haydn.
This is apparent immediately in the first movement’s main idea, which is an organic entity rather than a theme. But the secondary theme’s songfulness more than compensates for its predecessor’s shortcomings. Both themes are brought to fruition in a development section whose distinctiveness is the mark of Beethoven’s inventive strength.
The Adagio second movement has a wonderful main theme in D major that turns quite magically to B minor. The heart of the movement, however, is in a wonderful contrasting section whose modulations remind one of just how important an influence Beethoven was on Schubert.
The flights of the final movement’s six variations on an unassuming little tune illustrate well the advancements Beethoven had made in the important realm of theme and variations. Not only in the matter of musical inventiveness but also in the element of ensemble unity does one find Beethoven well into his second compositional period, when his strengths were facilitating his becoming an amazing artist.
Here are two more giants: David Oistrakh and Sviatoslav Richter play this music for you, and also a sonata by Johannes Brahms:
